#in other things I'm a Luddite

[littleapocalypsekitten]

I have a strange relationship with technology for someone my age, or maybe it is to be expected. I'm Gen-X, or more appropriately, Xennial, a few months shy of Millennialhood. My generation had a selective relationship with technology. Grew up without the Internet and having a computer for everything, grew into needing those skills to survive. Anyway, I am writing to you today to say that I hate smart phones. I actually, really do. I love them AS PHONES. I love them for the primary purpose of having an emergency, portable phone that you use to talk to humans with your actual voice. Mobile phones save lives and livelihoods that way. My phone has saved me in many emergencies - when I've talked to humans. Dealing with apps and programs, however... baffles me and I hate it. MY 80-YEAR-OLD-MOTHER has better smart phone skills than I do! I don't know how that happened! (She told me how to text!) I was just trying to change my gmail account on my phone because something on the computer-program at the new job I took didn't like either of my old emails (the old yahoo account that I use as default for everything, nor my mobile Gmail account, which was my secondary and saw the most use in setting up Minecraft for my Switch). I had to create an entire new account on Gmail in order to get into the work system, so, of course I wanted to change to that on my mobile phone in case I needed any info from work-stuff and the Gmail app and even going straight online to google from my phone keeps defaulting me to the old account that I don't want... (it seems to have my secondary show up because I did some test-emails between that and my yahoo account on my laptop, so I hope I can receive at least). But, you know... ugh... I can't get the smart phone to not be a stupid phone about what I want it to do! I also find no value in downloading aps and games on the thing. I tend to do most of my fun stuff from home - my laptop, my gaming consoles... I really do only use the thing as a phone and maybe to look up news and weather on the go, that's about it. I can't imagine doing everything by phone like some people do - like a lot of young people do. I haven't formed the thumb-typing skill, I hunt and peck on it (I do home-keys and fly through typing on my laptop). I feel frustrated whenever I have to use my smart phone for things other than "phone" and sometimes even then because I loathe the small screen and it being a touch screen that doesn't like my big fingers. And I don't know if anyone else in the world is like this (well, save my partner, he's like this, too). I feel so alone. Almost Amish. Does anyone else out there have "technology selectiveness?"

[here-there-were-dragons]

any argument about this sort of thing that relies on placing some sort of magical moral value on concepts like "humanity" and "the meaning of art" is utter pseudoreligious nonsense. there's plenty of actually worthwhile arguments people could use sitting right there in reach, but everyone seems near pathologically averse to use them because apparently arguing about What Makes Things Real Arttm (aka "let's try to hyperdefine art to be some quasispiritualist thing that can only be done by humans and is a "quality of the human soul" or something somehow. fuck them animals and hypothetical aliens and infuriatingly often disabled humans we consider less than people, amirite?"), and also yelling at and about disabled people a lot, and on several occasions unironically making the claim that artists are more important and valuable to humanity and society than blue collar workers, is somehow more important

it's not 'AI art has no soul' because soul is subjective and creating art is not necessarily a divine spark of inspiration, sometimes human made art is empty of feeling and meaning and that's okay.

it's not 'AI art is ugly' because human made art doesn't need to be pretty, it's still art, no matter if you're starting or if you intentionally make ugly things. It's still okay.

The problem, with AI art (besides the copyright theft, the environmental issues, the artists losing their jobs..)

The problem is that

AI art lacks INTENT

When a human makes something, every part of the creation is a decision made. Why this line, why this color, why this word, why this stitch, why this note.

They may be good decisions, bad decisions, it doesn't matter. The end result is something with thought, and this is why we appreciate art. There is the surface, and underneath, there is an ocean of decisions made by the artist.

AI art has no intent.

Yes, they will type prompts for a general idea. And they will pick a result.

But there is no thought about poses, colors, lines, backgrounds, details, negative space, lighting, texture, framing, etc.

Becoming a good artist means to understand these decisions and align them to make the result you want.

AI art will pick through millions of those decisions made by other people and will stick them together without meaning or reason, so they lose their intended purpose. This is why people think AI art is empty, that it has no 'soul'. Because there is no thought process behind it.

We should stop comparing human and AI art by using words like "better" or "worse". People will always have different opinions.

But as a human, I am more interested in things made by other humans, because I can observe all those tiny decisions, I can relate to some, be surprised by some, dislike some, it's all good.

Art is people communicating.

AI art has nothing to say.

[lago-morpha]

seeing "but artists will LOSE THEIR JOBS" as an unironic response to AI art is so funny. I don't see you entertaining "but coal miners will lose their jobs!" seriously but nonsense arguments are fine when they support your point I guess. yeah, automation and progress lessens the burden of labor on society, that is indeed the point

[fieldghoul]

A round-up of ministry technology:

Chapter Two: The Cardinal

Copia is carrying the Siemens R836 stereo, produced c. 1988

Chapter 5: The Call

The TV in the hospital is the Toshiba T277Z, produced c. 1977

p.s., the first clip playing on the TV is twins running away in Chapter 1 :-)

Chapter Seven: New World Redro

Nihil's typewriter is the Olympia SM9, produced c. 1965-1968

Chapter Ten: Home Coming and Special Guests

The record player in Cardi's room is actually not vintage! It's the Victrola 3-in-1 Bluetooth Record Player, produced c. 2017

To get deep into minutiae, the other thing they pan past on the shelf that looks like an antique cathedral radio is actually a piece of ceramic -- you can see it's holding a book. It's made from a commercially available plaster mold, namely the Duncan DM-355 B, which was manufactured in the late 70s. Here are photos of the same ceramic with a different glaze, and the mold itself :-)

Chapter Twelve: Ghost Goes Hollywood

Cardi's camcorder is part of the Sony CCD-TRVX5 series, produced c. 1998

(My understanding is the CCD-TRV75, 85 and 93 all have the same body -- but it's one of those.)

Chapter 16: Tax Season

Cardi's TV is the Samsung BT-317TR, produced c. 1984

He is, of course, playing the Nintendo Entertainment System (NES), produced c. 1986-1990

The radio is the Motorola TT23FS, produced c. 1968

The phone gadget is the Tele-Rest, produced c. 1958

The alarm clock is a Lawson Model 215 Sierra, produced c. 1948-1981 (Lawson clock history seems... complicated)

As for the phone itself... I can tell you it's this exact phone, since this prop house seems to have supplied all the props in this video, but there are too many identical puke-green rotary phones produced between the 1940s and 1970s for me to pretend I can tell which one it is (same goes for the other two rotary phones in Chapter Five).

Rite Here Rite Now

The TV backstage is (probably) a Magnavox 20MT4405/17, produced c. 2006

If you turn the brightness on RHRN way the fuck up, you can see a piece of tape over the brand badge on the TV. (But that can't stop me!!!)

I'm sure most of the tech choices are just for humor and Tobias's personal nostalgia as a child of the 80s, but I do love way all of the old tech characterizes the ministry. It's not clear if they're just luddites, cheapskates, out of money, too bureaucratically inefficient to upgrade (like the government!) or if it's something completely different. But that's why set dressing is fun, it tells stories indirectly :-)

[mostlysignssomeportents]

A year in illustration, 2023 edition (part one)

(This is part one; part two is here.)

I am objectively very bad at visual art. I am bad at vision, period – I'm astigmatic, shortsighted, color blind, and often miss visual details others see. I can't even draw a stick-figure. To top things off, I have cataracts in both eyes and my book publishing/touring schedule is so intense that I keep having to reschedule the surgeries. But despite my vast visual deficits, I thoroughly enjoy making collages for this blog.

For many years now – decades – I've been illustrating my blog posts by mixing public domain and Creative Commons art with work that I can make a good fair use case for. As bad as art as I may be, all this practice has paid off. Call it unseemly, but I think I'm turning out some terrific illustrations – not all the time, but often enough.

Last year, I rounded up my best art of the year:

https://pluralistic.net/2022/12/25/a-year-in-illustration/

And I liked reflecting on the year's art so much, I decided I'd do it again. Be sure to scroll to the bottom for some downloadables – freely usable images that I painstakingly cut up with the lasso tool in The Gimp.

The original AD&D hardcover cover art is seared into my psyche. For several years, there were few images I looked at so closely as these. When Hasbro pulled some world-beatingly sleazy stuff with the Open Gaming License, I knew just how to mod Dave Trampier's 'Eve Of Moloch' from the cover of the Players' Handbook. Thankfully, bigger nerds than me have identified all the fonts in the image, making the remix a doddle.

https://pluralistic.net/2023/01/12/beg-forgiveness-ask-permission/#whats-a-copyright-exception

Even though I don't keep logs or collect any analytics, I can say with confidence that "Tiktok's Enshittification" was the most popular thing I published on Pluralistic this year. I mixed some public domain Brother's Grimm art, mixed with a classic caricature of Boss Tweed, and some very cheesy royalty-free/open access influencer graphics. One gingerbread cottage social media trap, coming up:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

To illustrate the idea of overcoming walking-the-plank fear (as a metaphor for writing when it feels like you suck) I mixed public domain stock of a plank, a high building and legs, along with a procedurally generated Matrix "code waterfall" and a vertiginous spiral ganked from a Heinz Bunse photo of a German office lobby.

https://pluralistic.net/2023/01/22/walking-the-plank/

Finding a tasteful way to illustrate a story about Johnson & Johnson losing a court case after it spent a generation tricking women into dusting their vulvas with asbestos-tainted talcum was a challenge. The tulip (featured in many public domain images) was a natural starting point. I mixed it with Jesse Wagstaff's image of a Burning Man dust-storm and Mike Mozart's shelf-shot of a J&J talcum bottle.

https://pluralistic.net/2023/02/01/j-and-j-jk/#risible-gambit

"Google's Chatbot Panic" is about Google's long history of being stampeded into doing stupid things because its competitors are doing them. Once it was Yahoo, now it's Bing. Tenniel's Tweedle Dee and Dum were a good starting point. I mixed in one of several Humpty Dumpty editorial cartoon images from 19th century political coverage that I painstakingly cut out with the lasso tool on a long plane-ride. This is one of my favorite Humpties, I just love the little 19th C businessmen trying to keep him from falling! I finished it off with HAL 9000's glowing red eye, my standard 'this is about AI' image, which I got from Cryteria's CC-licensed SVG.

https://pluralistic.net/2023/02/16/tweedledumber/#easily-spooked

Though I started writing about Luddites in my January, 2022 Locus column, 2023 was the Year of the Luddite, thanks to Brian Merchant's outstanding Blood In the Machine:

https://pluralistic.net/2023/09/26/enochs-hammer/#thats-fronkonsteen

When it came time to illustrate "Gig Work Is the Opposite of Steampunk," I found a public domain weaver's loft, and put one of Cryteria's HAL9000 eyes in the window. Magpie Killjoy's Steampunk Magazine poster, 'Love the Machine, Hate the Factory,' completed the look.

https://pluralistic.net/2023/03/12/gig-work-is-the-opposite-of-steampunk/

For the "small, non-profit school" that got used as an excuse to bail out Silicon Valley Bank, I brought back Humpty Dumpty, mixing him with a Hogwartsian castle, a brick wall texture, and an ornate, gilded frame. I love how this one came out. This Humpty was made for the SVB bailout.

https://pluralistic.net/2023/03/23/small-nonprofit-school/#north-country-school

The RESTRICT Act would have federally banned Tiktok – a proposal that was both technically unworkable and unconstitutional. I found an early 20th century editorial cartoon depicting Uncle Sam behind a fortress wall that was keeping a downtrodden refugee family out of America. I got rid of most of the family, giving the dad a Tiktok logo head, and I put Cryteria's HAL9000 eyes over each cannonmouth. Three Boss Tweed moneybag-head caricatures, adorned with Big Tech logos, rounded it out.

https://pluralistic.net/2023/03/30/tik-tok-tow/#good-politics-for-electoral-victories

When Flickr took decisive action to purge the copyleft trolls who'd been abusing its platform, I knew I wanted to illustrate this with Lucifer being cast out of heaven, and the very best one of those comes from John Milton, who is conveniently well in the public domain. The Flickr logo suggested a bicolored streaming-light-of-heaven motif that just made it.

https://pluralistic.net/2023/04/01/pixsynnussija/#pilkunnussija

Old mainframe ads are a great source of stock for a "Computer Says No" image. And Congress being a public building, there are lots of federal (and hence public domain) images of its facade.

https://pluralistic.net/2023/04/04/cbo-says-no/#wealth-tax

When I wrote about the Clarence Thomas/Harlan Crow bribery scandal, it was easy to find Mr. Kjetil Ree's great image of the Supreme Court building. Thomas being a federal judge, it was easy to find a government photo of his head, but it's impossible to find an image of him in robes at a decent resolution. Luckily, there are tons of other federal judges who've been photographed in their robes! Boss Tweed with the dollar-sign head was a great stand-in for Harlan Crow (no one knows what he looks like anyway). Gilding Thomas's robes was a simple matter of superimposing a gold texture and twiddling with the layers.

https://pluralistic.net/2023/04/06/clarence-thomas/#harlan-crow

"Gig apps trap reverse centaurs in wage-stealing Skinner boxes" is one of my best titles. This is the post where I introduce the idea of "twiddling" as part of the theory of enshittification, and explain how it relates to "reverse centaurs" – people who assist machines, rather than the other way around. Finding a CC licensed modular synth was much harder than I thought, but I found Stephen Drake's image and stitched it into a mandala. Cutting out the horse's head for the reverse centaur was a lot of work (manes are a huuuuge pain in the ass), but I love how his head sits on the public domain high-viz-wearing warehouse worker's body I cut up (thanks, OSHA!). Seeing as this is an horrors-of-automation story, Cryteria's HAL9000 eyes make an appearance.

https://pluralistic.net/2023/04/12/algorithmic-wage-discrimination/#fishers-of-men

Rockefeller's greatest contribution to our culture was inspiring many excellent unflattering caricatures. The IWW's many-fists-turning-into-one-fist image made it easy to have the collective might of workers toppling the original robber-baron.

https://pluralistic.net/2023/04/14/aiming-at-dollars/#not-men

I link to this post explaining how to make good Mastodon threads at least once a week, so it's a good thing the graphic turned out so well. Close-cropping the threads from a public domain yarn tangle worked out great. Eugen Rochko's Mastodon logo was and is the only Affero-licensed image ever to appear on Pluralistic.

https://pluralistic.net/2023/04/16/how-to-make-the-least-worst-mastodon-threads/

I spent hours on the sofa one night painstakingly cutting up and reassembling the cover art from a science fiction pulp. I have a folder full of color-corrected, high-rez scans from an 18th century anatomy textbook, and the cross-section head-and-brain is the best of the lot.

https://pluralistic.net/2023/05/04/analytical-democratic-theory/#epistocratic-delusions

Those old French anatomical drawings are an endless source of delight to me. Take one cross-sectioned noggin, mix in an old PC mainboard, and a vector art illo of a virtuous cycle with some of Cryteria's HAL9000 eyes and you've got a great illustration of Google's brain-worms.

https://pluralistic.net/2023/05/14/googles-ai-hype-circle/

Ireland's privacy regulator is but a plaything in Big Tech's hand, but it's goddamned hard to find an open-access Garda car. I manually dressed some public domain car art in Garda livery, painstakingly tracing it over the panels. The (public domain) baby's knit cap really hides the seams from replacing the baby's head with HAL9000's eye.

https://pluralistic.net/2023/05/15/finnegans-snooze/#dirty-old-town

Naked-guy-in-a-barrel bankruptcy images feel like something you can find in an old Collier's or Punch, but I came up snake-eyes and ended up frankensteining a naked body into a barrel for the George Washington crest on the Washington State flag. It came out well, but harvesting the body parts from old muscle-beach photos left George with some really big guns. I tried five different pairs of suspenders here before just drawing in black polyhedrons with little grey dots for rivets.

https://pluralistic.net/2023/06/03/when-the-tide-goes-out/#passive-income

Illustrating Amazon's dominance over the EU coulda been easy – just stick Amazon 'A's in place of the yellow stars that form a ring on the EU flag. So I decided to riff on Plutarch's Alexander, out of lands to conquer. Rama's statue legs were nice and high-rez. I had my choice of public domain ruin images, though it was harder thank expected to find a good Amazon box as a plinth for those broken-off legs.

https://pluralistic.net/2023/06/14/flywheel-shyster-and-flywheel/#unfulfilled-by-amazon

God help me, I could not stop playing with this image of a demon-haunted IoT car. All those reflections! The knife sticking out of the steering wheel, the multiple Munsch 'Scream'ers, etc etc. The more I patchked with it, the better it got, though. This one's a banger.

https://pluralistic.net/2023/07/24/rent-to-pwn/#kitt-is-a-demon

To depict a "data-driven dictatorship," I ganked elements of heavily beribboned Russian military dress uniforms, replacing the head with HAL9000's eye. I turned the foreground into the crowds from the Nuremberg rallies and filled the sky with Matrix code waterfall.

https://pluralistic.net/2023/07/26/dictators-dilemma/#garbage-in-garbage-out-garbage-back-in

The best thing about analogizing DRM to demonic possession is the wealth of medieval artwork to choose from . This one comes from the 11th century 'Compendium rarissimum totius Artis Magicae sistematisatae per celeberrimos Artis hujus Magistros.' I mixed in the shiny red Tesla (working those reflections!), and a Tesla charger to make my point.

https://pluralistic.net/2023/07/28/edison-not-tesla/#demon-haunted-world

Yet more dividends from those old French anatomical plates: a flayed skull, a detached jaw, a quack electronic gadget, a Wachowski code waterfall and some HAL 9000 eyes and you've got a truly unsettling image of machine-compelled speech.

https://pluralistic.net/2023/08/02/self-incrimination/#wei-bai-bai

I had no idea this would work out so well, but daaaamn, crossfading between a Wachowski code waterfall and a motherboard behind a roiling thundercloud is dank af.

https://pluralistic.net/2023/08/03/there-is-no-cloud/#only-other-peoples-computers

Of all the turkeys-voting-for-Christmas self-owns conservative culture warriors fall for, few can rival the "banning junk fees is woke" hustle. Slap a US-flag Punisher logo on and old-time card imprinter, add a GOP logo to a red credit-card blank, and then throw in a rustic barn countertop and you've got a junk-fee extracter fit for the Cracker Barrel.

https://pluralistic.net/2023/08/04/owning-the-libs/#swiper-no-swiping

Putting the Verizon logo on the Hinderberg was an obvious gambit (even if I did have to mess with the flames a lot), but the cutout of Paul Marcarelli as the 'can you hear me now?' guy, desaturated and contrast-matched, made it sing.

https://pluralistic.net/2023/08/10/smartest-guys-in-the-room/#can-you-hear-me-now

Note to self: Tux the Penguin is really easy to source in free/open formats! He looks great with HAL9000 eyes.

https://pluralistic.net/2023/08/18/openwashing/#you-keep-using-that-word-i-do-not-think-it-means-what-you-think-it-means

Rockwell's self-portrait image is a classic; that made it a natural for a HAL9000-style remix about AI art. I put a bunch of time into chopping and remixing Rockwell's signature to give it that AI look, and added as many fingers as would fit on each hand.

https://pluralistic.net/2023/08/20/everything-made-by-an-ai-is-in-the-public-domain/

(Images: Heinz Bunse, West Midlands Police, Christopher Sessums, CC BY-SA 2.0; Mike Mozart, Jesse Wagstaff, Stephen Drake, Steve Jurvetson, syvwlch, Doc Searls, https://www.flickr.com/photos/mosaic36/14231376315, Chatham House, CC BY 2.0; Cryteria, CC BY 3.0; Mr. Kjetil Ree, Trevor Parscal, Rama, “Soldiers of Russia” Cultural Center, Russian Airborne Troops Press Service, CC BY-SA 3.0; Raimond Spekking, CC BY 4.0; Drahtlos, CC BY-SA 4.0; Eugen Rochko, Affero; modified)

[mering]

letter: dear mer i watched all your lifesteal animatics/animations on youtube (2 of which id never seen before) during a watchparty with some friends a couple days ago. they were awesome and im still thinking about certain parts of them. particularly the movement of vitalasys hands in gash on the cheek after being stabbed, noticing your vitalasy design has a fox muzzle mask(!!!) in even the dogs, and. the entirety of luddites & lambs. the blocks. well i giggled but i quite enjoyed the zam & subz boat scene inclusion & the dramatic shot of block subz on block hors. your shot composition and camera movement is really inspiring and clean even in your unfinished works. ok aaaand signed xoxoxo🪲

THANK YOUUUU <3333333333 i'm glad the hand movement in gash on the cheek stuck with you ^w^ i really like animating pov shots of hands because it's crazy easy to reference. on account of you can just look down. which means i can get subtler movement that feels pretty natural...

my vitalasy went through a lot of iterations. mask makes sense because he's defined by trying to control how he's perceived, but i like the maskless face because it means you will always see his emotions. here's a sketch from around the same time i made even the dogs & a quick attempt at how it would look on my current vitalasy:

luddites & lambs was one of my very first ever attempts at lifesteal fanart (almost exactly a year ago to the day ? wow...) and i can't remember what exactly possessed me to do it blockstyle. i think in part it was because that meant i didn't have to worry about character/set design at all. and because i was so immediately taken with how lifesteal is unequivocally a story about minecraft and how the game functions that not literally representing that felt like it was losing something. plus it maintains the tone of the thing as funny and a little absurd.

which makes the contrast between luddites & lambs and gash on the cheek really funny because you can see how dramatically the way i thought about it all changed over time. when i did luddites & lambs i was still in the process of watching through season 4, which is why it's focused on castle arc/leviathan/early eclipse. but in late s4, while it's still about the game, there is suddenly so much more of a human element. like, straight up drawing the cubes invokes the idea that it's a game with people playing it but you don't see the people, and at a certain point it started feeling like you had to see the people in order to accurately represent the emotional stuff that happens, when gameplay itself becomes so secondary to any of the most important parts of the story. you can draw cubes fighting each other but you can't really draw cubes displaying subtle body language

[fanartka]

can you tag your mid ass AI art so nobody gotta look at that crap thanks 🌹

My answer is "No."

And this is the line beyond which my patience finally ceases to be patient.

@docty-strange If you can't see beauty, then maybe you shouldn't force your radical opinion on those who don't need it.

AI is a tool with which a person can translate his ideas, his thoughts from words into an image, a way for an artist to create something in a style different from his own and sometimes adopt an idea, a well-generated fold of a patterned garment or something similar to use already in what he draws with his own hands.

This is not an enemy, not a devil, it is not even intelligence, it is a tool, like Photoshop and other programs, including programs that people use to improve the quality of screenshots and photos, by the way.

I am old enough to remember heated discussions about the idea that digital artists are not real artists, but just hacks. And although I'm not old enough to remember the Luddites, I'm sure they had very similar rhetoric when they broke machines that only improved people's lives.

Every time something new appears, most people perceive it as a threat. There are still people who blame smartphones and computers for all human ills, just as a few centuries ago fanatics believed that the devil sat in the clock and turned the mechanism. I think our ancestors, who first began to use sharpened stones instead of fists, were also perceived as something strange and threatening. But this is just progress.

The world is changing. AI isn't perfect, it has a problem with human fingers and there are some legal issues that need to be ironed out, but this thing allows people to create beauty that wouldn't otherwise exist. AI helps in scientific calculations, including medical calculations, and much more.

Oh, and thank god I don't have to buy marble, hire a sculptor, and figure out where to find space for a Strange statue in my apartment, because I can see what such a statue would look like with the help of AI.

But pestering other people with all sorts of nasty things and demanding that they do as you would like is unacceptable. Seriously, when haters come to my inbox, most of them are homophobes who claim that Stephen would never love a guy and demand that I stop disgracing him, or with statements like that.

AI can make beauty, but you can only produce hatred and bother people with your demands. If you don't like it, don't watch it. That's how the Internet works.

Take it back 🌹 You know what to do with it.

[kazimirkharza]

What are your thoughts on how many anarcho-primitivist/luddite/anticiv spaces have been taken over by right-wing types? It seems less people are actually engaging in primitivist thought and more so thinking it's "based" and "trad."

I saw how you got downvoted for insulting whatalthist, and this is what led me to ask this question.

I'm assuming you're referring to online spaces. There's a strong effort by the right to co-opt primitivism. There are some forums that are frequented by right-wingers, though they're in the minority; most problematic spaces are the ones about Kaczynski and things directly related to him. There are also many social media accounts that express primitivistic ideas in combination with authoritarian and rightist politics (e.g. individuals who adore both Ted Kaczynski and Pentti Linkola). Most concerning to me are actually the offline examples that get press coverage.

I see this as being both due to deliberate efforts to co-opt primitivism, much in the manner Nazis co-opted socialism, and due to ignorance on the part of many right-wingers. It isn't too hard to misinterpret Kaczynski's remarks about leftism if you read him inattentively, and conclude that he must be some sort of right-winger. Ted's mistake was focusing on attacking the left too much and worrying too little about the right, but at the time he wrote his manifesto this choice made sense.

Ted was a fan of Earth First! and when he wrote Industrial Society and its Future the wounds of an ideological split within it were still fresh. EF! started out as a truly ecocentric movement with extremely narrow goals of protecting the wilderness from the ravages of industrialism and other harm caused by civilized humans. After gaining a lot of momentum, EF! attracted thousands of newcomers, many of whom leaned more to the side of leftist humanism than deep ecology, causing conflict — the newcomers were trying to transform the movement into one about ecology-related social justice issues, while the original Earth First!ers preferred to only focus on wilderness conservation. (For more on this check out Earth First!: Environmental Apocalypse by Martha F. Lee). The right-wing in America at the time was comprised mostly of people who were staunch prometheans, warmongers, etc., and Ted rightly assumed they weren't going to take over his movement. However as the political climate changed they became one.

The US and the rest of the "West" seems to be experiencing a rise in right-wing back-to-nature ideas, similar in many ways to the so-called "right-wing hippies" of the Weimar republic. I'm talking about doomsday preppers, christian nationalist communes, etc. Kaczynski did not anticipate this, and by the time news about who was adopting (some of) his ideas — not just anarchists and former Earth First!ers, but people including the Greek fascist Golden Dawn party, and Andreas Breivik — reached Kaczynski in his supermax prison it was a bit late. He penned a short note titled Ecofascism: An Aberrant Branch of Leftism in 2020, arguing against their ideas and saying he's their enemy. However, more people read and will read ISAIF in the future than this obscure note and the few other scattered critiques of the right that can be found throughout his work.

What we need to do is to aggressively shun these types until we successfully repel them. This applies to real life and online interactions. There will always be some who'll try to co-opt primitivism, but this big wave needs to be halted. There are also some who are genuinely willing to learn and adjust their beliefs, but they're few in between. It's necessary to distinguish between the two, keep the latter and reject the former.

[statementlou]

hi it's just me being nosy and asking a follow up to your vinyl anon--what are some of your non-1DCU favorites? collection tour please 😇

hiiii gosh and look you even put the link on for me to make it easy! The question itself is NOT EASY though I was like BUT WHAT IF I FORGET ONE?? Like what CATEGORY of favorite?! But the timing couldn't be better, I am currently as previously mentioned in the process of moving all of my stuff around, a huge project that 1) is perfect for listening to records while I do things like move books from one shelf to another and 2) means I just today moved my record player to a far better place where I am actually using it again for the first time in ages (for one thing onto an actual properly non wobbly surface) so I listened to records today and picked a few that will do sorry to all the others I forgot and love even more I'm sure

I picked first up Daydream Nation by Sonic Youth not just because it's so good (IT IS THOUGH) but also because it's an album that having it on vinyl feels SO right and it makes me happy just to handle; the pretty Gerhard Richter painting cover, a little crackle and pop with the music, the aesthetic of it all! I mean Sonic Youth probably literally birthed the indie hipster luddite aesthetic, it seems Right™ Second is The Bonny by Gerry Cinnamon, because being able to listen to the songs The Bonny and Ghost specifically on vinyl feeds my soul in deep and important ways. Also the 4th side is blank and etched with lyrics, like the JHO single, very cool. And last the record/album I've almost certainly played the most times in my life, even though the copy I have has skips now (to be loved is to changed and all that yk) and I haven't to date been able to bring myself to buy a reissue or pay $$$ for another original: 24 Hour Revenge Therapy by Jawbreaker. It's just important in like 15 different ways okay? Tip, if anyone is like huh! I will go listen to this album I've never heard it (DO!! also then tweet it at Louis a lot, he would REALLY LIKE IT) I think the best way to do this is to skip the first song the first time, it's a whole different vibe than the rest. Also right now my fave is LTLIVE on vinyl 😭 playing records makes me want to put it on SO BAD :((( also bonus content, one of my favorite things about records for some reason is seeing who goes next to who idk I just find it fun and if I were naming a band it would totally be a big consideration... so for extra tour of the shelf, Gerry Cinnamon is between the Germs and The Gits (listen the Cs are crowded, it's my shelf I can do what I want), Sonic Youth was between The Snuts and Social Distortion- which the astute may notice is not correct, she will be going back other side of Social D- and Jawbreaker nestle cozily between Japandroids and Jerk With A Bomb. Louis, for the record, lives between very twee girl band Tiger Trap and very fast hardcore band Tragatello, lol. A weird bill, that, but they do have one thing in common- all feature queer musicians

[andmaybegayer]

Do you just really enjoy the idea that all art-making by humans will cease to exist (except for the very rich)? Do you and the people like you have some other pathological need to jump to the defense of the moustache-twirling capitalists (and their useful idiots) behind AI design? Do you realize you *are* such a useful idiot? I'm curious.

I'm going to mostly focus on your point that "art-making by humans will cease to exist" because it's. Confusing.

Art, famously a thing that is only made when it's profitable.

It's important to point out that (in a non-pejorative way) that this is the Luddite situation. The Luddites were 100% correct that mechanisation would take their jobs and fuck up their lives. At the same time, it would be patently ridiculous to solve the issue by mandating that you can't mechanize factories, and it is missing the point to say that AI will destroy the concept of art from human culture.

Art has never been like, a stupendously profitable enterprise that you get into because it pays well. It sucks! It sucks that being commercially successful as an artist has basically for centuries meant working odd jobs doing whatever while you try to scrape enough together to turn a living on your passion and most of the time failing. The Starving Artist is a character archetype going back centuries.

At the same time, it's hard to argue that there's something unique about the artist's desire to make a living from their craft. Many people will not get to do their passion for a living. Artists aren't in a unique situation here, there's no doubt thousands of people working boring desk jobs who really want to be field biologists, or journalists, or video producers. I would love to make my living building specialist sensing hardware for postgrads all year round, but that's basically a nonexistent job. Most people are just working to get paid.

Photography absolutely killed the shit out of the professional advert painter. Digital music production shrunk the music studio crew by a huge factor. CNC machining eliminated machinist jobs in factories. This always sucks for the people who are put out of work but it's not unique or special. Much ink has been spilled on the topic of automation, it's just hitting a group of people who we all thought wouldn't have to contend with automation.

It's frustrating that already not everyone can make a living doing the thing they believe is their calling, but I find it hard to believe that art itself will be killed by AI. It's very easy to feel like doing art is the highest moral calling for all people and so we should reward it, but it's just a thing you do.

As for being a useful idiot, I must once again stress that if you think there are mustache twirling villains secretly directing the flow of the economy with the goal of hurting specific people then you believe things that are wrong because you have a fundamentally dysfunctional way of understanding the world that will lead you to incorrect conclusions. There's no head you can cut off the snake.

[gamenburger]

Oh yeah. none of u here know me lol. I'm not used to this whole "public facing artist" thing tbh. Hi! I do reviews on my blog, and make zines on my itch (and u may see the occasional hand drawn game there. ill keep u posted), and all of that is complimented by my hand drawn art. I'm never sure if anyone can tell actually, but yes nearly everything i draw is inked and colored physically:

currently i gravitate towards ink and alcohol marker on printer paper. Gets the job done! Follow me if you like any of the stuff I do- I'm not really a "fandom" person, but my interests tend to drift and im the type to do deep dives on things when I love them. If you follow me, you'll see archie sonic stuff, indie game stuff, game analysis and critique, and other local interest/culture stuff. What does "local mean?" look behind you. PS i'm not a physical artist because im luddite or somthing. I just try and make lines on a tablet and then i cry boo hoo :(((((

[elwolfen]

Alfred Molinathon Day 2:

The Steal (1995)

Cliff Williams

His Role: I didn't expect much going in. Hell, I have never heard of this movie till I watched this for the marathon. A sculptor and clean freak roped into a hi-tech robbery with the messiest American woman to exist and it's a romance!? Excuse me? I love it. I was not expecting a romance, I just knew it was a comedy!

He was hilarious to watch in this unraveling series of events. Him playing this Tony Brummel character and Kim, as his fiance? I love her aggressive, fake New York accent and her playing dumb. Every time no one was looking, he'd just quietly snap at her. To which I was mimic but with more aggressive growling because I thought it was funny to me.

Kim being tech savvy and Cliff being a luddite (being opposed to new tech) is interesting. She'll go on about the intricacies of what she can or can't do with her laptop and him just trying to grasp any of the words she's saying. But then the reverse happens when it comes to his building planner expertise, and she gets feel the ame as hedie with her hacking. Very nice touch, simple and effective.

Every time she'd make a mess and he just stare in disbelief of her disrespect, I really felt that (even though I can also be quite messy). Her being like, hey, I made you coffee and he finds the milk and stuff spilled all around the cup of coffee was insane. I swear she had to do that on purpose!

Kidnapping Childwell was certainly a chore for the two, first getting the man in the first place! Cliff putting on a fake beard over his beard was an interesting choice, and it constantly falling off when waiting for Lord Childwell to get ready was making me squirm with anticipation of the fact he might get caught, always trying to fix while quickly switching back to his stoic and stone-faced persona as the driver. I'd probably keep questioning my eyes or sanity if I was the Lord. And the drive while Kim tries to start the gas to knock him out, my God! What was the issue? Have Cliff help you! Instead, it kept spiraling out of control till the point she just shoves the little hose into the man's mouth and held his nose. Goodness, savage. After getting him to Mrs. Fawkes and taking the poodle pictures, Cliff is constantly threatening to cut off his ears and be like: I'm not being serious, calm down, you should have Stockholm by now. And yet he gives him a coat because he's worried he'll be chilly when they drop him in the middle of nowhere... he's giving this man whiplash! Probably Kim too. To be honest, I'd be the same.

I realized when watching this that wet suits? Kind of sexy, at least on those two~

Kim pretending to be French while Childwell shows up to the house and also starts speaking French, what does she do? She just outright drops it and says she's screwing with him. Just so random and hopefully it was believable for the moment. This movie has the calmest and most quaint car chase ever between the two duos (Kim & Cliff/Childwell & Wilmot). Not super tense or funny, it was just weirdly low stakes. But after that's all said and down, the inflatable boat going off in the car and the other duo driving into the water, we get Cliff getting reasonably upset and wanting to back out but BAM! A kiss from Kim! Then straight to the sewer.

The whole sewer scene. If I had a nickle for every time there was a sewer scene on 1995 movie with Alfred Molina in it, I'd have two. Which isn't a lot but- yes I know he wasn't in the sewer in Species. Anyways, it's a great long scene building the tension, and he's so damn impatient, I understand why. Being heard and someone slowly coming down to their little hideaway and the water quickly rising? Add in the fact that it was his fault they heard him, but it was whoever put that thing he accidentally kicked down the later when having a leg cramp. Kim just waiting and waiting, almost like a gambling addict waiting for a big win. Which, oh boy do they. After they finally leave and have to dive and swim underwater, I was actually worried Kim just outright drowned when Cliff couldn't find her, I would've been devastated. But thankfully she doesn't, I needed the two just caressing each other's face in the water, thank you.

The robbery was successful and they live on a beach, a nice call back to the beginning, where she saw Cliff's very interesting sculpture. At first, it looks like a cobblestone walkway (on the wall), but if you slide the two pieces apart, there's a beach underneath. She says that she likes the beach, he explains that it's metaphoric and also he doesn't like the beach. Yet, here they are together at the end. Finally, he can just retire and follow his interests instead of being a planner for the town council, all with Kim. It just ends right after.

Overall, I enjoyed Cliff and Kim's antics and blossoming romance very much. And of course him getting angry or frustrated never get old

~~~

The Rest of the Movie: I went through most of the plot on the above section. But we have Jeremiah, the man who instigates the whole thing. At first I thought from the description it would just be for money, but no, it's to steal from a corrupt bank chairman for cheating the people of Golanda and give it back to them. A more noble act than I expected. But after appearances, he disappears halfway through the movie, which I didn't mind. But the end he tells Childwell and Wilmot what's going on and I didn't exactly know why but it all went well in the end. 28 million was sent to the people of Golanda to help heal the damage that banker cost them.

~~~

Childwell and Wilmot were an unexpected turn into the story, I really liked their shenanigans with trying to figure out what kind of car he was transported in during the kidnapping (a Morris Minor or a Moggie as some call it). He has perfect memory of his surroundings; the feeling, sounds and the not very helpful clues in the pocket of the coat that Cliff gave him. Wilmot thinking it's all political got a chuckle from me.

Wilmot himself is quite interesting, having fall out of favor after some sort of exposure of his "parties" yet many people seeing him and knowing his style of living are quite friendly towards him. I love that everyone keeps asking if this whole search and the fact they keep seeing Childwell in his trousers (helps the process, really) and Wilmot simply says: of sorts~

~~~

The comedy itself is hit or miss, got a real taste in the beginning when Kim was in America. They tried with physical humor and such, but the cuts, pacing and delivery were very hindered. But I do believe it got better later on.

It's a nice quick watch, so if you have the time, I suggest checking it out if you like these type of heist movies.

[orriculum]

I haven't had a printer since 2005, the last one I had was beige handmedown thing that made the same sounds printing that I do when I have to run a mile, it plugged directly into an equally ancient windows 98 machine and had to be babied into accepting paper one sheet at a time.

But the other day my sister gave me the printer she doesn't need anymore, and I'm in the process of setting it up.

Ok, gotta enter the wifi password, that seems standard, but then there's also a code I have to get from the printer and put into my computer after, and it's going downhill

I've now had to prove to the printer three times that I'm a human who wants to print things, one of the times is because the password I tried to use when making an account on the manufacturers app is because it matched a data leak password? And that's unacceptable security standards for a printer, obviously.

Now I'm getting emails about subscriptions and benefits, it wants to sell me an ink subscription. I just want to print things occasionally.

To top it off, it still won't print.

I'm 27 and this thing is making me feel ancient and like I'm some kind of luddite. I'm ten minutes away from digging up the beige thing from my moms basement.

[paz-45]

EE Lyrics Study: teeth/bones/nails

Hello! This is my first "lyric study" for the band Everything Everything and the topic is: BONES/TEETH/NAILS.

Basically, when listening to their music, I kept noticing words related to this topic and I was curious if the topic actually existed across their discography. I marked every lyric that included key words:

bone, skull, teeth, vertebrae, fossil, etc.

I did a little research to see the cultural significance or any other meaning/symbolism of these words. I didn't want to dive too much into the actual meaning of the lyrics*** or the greater context of the song, but instead looked at the overall patterns of the key words.

I notice that in EE's lyrics, bones/teeth are mostly used to evoke images of graphic things being done to a body or to liken humans to other animals/creatures. There's mentions of bones both inside a living human and in someone/something that's dead.

Personally, I interpret these uses as a more shocking or uncomfortable way to refer to those parts of the body (e.g. teeth instead of smile, clavicle instead of collar, skull instead of head), which is pretty on-brand for EE's provocative lyrics/themes.

And half the street was under my nails -MY KZ, UR BF

Cos even now, there's a bone snapping -Leave the Engine Room

My teeth dazzle like an igloo wall, I inhabit, I inhibit ya'll -Photoshop Handsome

But right above my clavicle, the world becomes so laughably old -Wizard Talk

Teeth and nails your little anatomy -Luddites and Lambs

Past-tense -- what's a trilobite to anyone? -Kemosabe (marked because it only exists in fossil form)

Coiled heart, eye-tooth, feral child -Torso of the Week

And cloudy with potential, muscle mass and vertebrae begin... -Choice Mountain

While Princes fly drones that can see through your bones - Undrowned

The street is a boneyard she glances -Armourland

And now who's the fossil who gets the girl? -The House is Dust

Bic your head and show your teeth to them honey -Don't Try

And sweat runs up his neck and spine -Awe/Arc

You take the poleaxe out of your spine, push your shoulder back in its place -A.D.

Canine, fangs up out my throat -Distant Past

Teeth on a wire -Get to Heaven

Swing the hammer, the fragments, a skull exploding -Spring/Sun/Winter/Dread

Bone, to the blade -The Wheel is Turning Now

Bones in a bowl like a toad-in-the-hole, take the shape out of the mould -No Reptiles

And your spine is a glass spire -President Heartbeat

I can feel my bones screaming out -Yuppie Supper

Yet the concrete burns at the back of your skull -Night of the Long Knives

I'm just a knuckle dragger with a knuckle dragger grin -Desire

If my bones just fall away -Good Shot, Good Soldier

Skeleton boy with the skeleton girl souvenir -Big Climb

As fresh as my bouncing bones -Arch Enemy

The bones snap into place -Black Hyena

Stretching my lips over my teeth -SUPERNORMAL

I want the teeth of the enchanter - I Want A Love Like This

Drinking from a hollow skull -Cut UP!

But the seed inside your skull is now a watermelon -HEX

You can sing you can play my ribcage like piano -My Computer

***I feel like we'll never know exactly what Jonathan means when he writes (lol seems like he doesn't know sometimes either) so I didn't want to get caught up in guessing what he meant. I find it tiring to try to figure out 'why did he say that?' and instead just enjoy and find my own meaning :)

[mostlysignssomeportents]

Enshitternet

Going to Burning Man? Catch me on Tuesday at 2:40pm on the Center Camp Stage for a talk about enshittification and how to reverse it; on Wednesday at noon, I'm hosting Dr Patrick Ball at Liminal Labs (6:15/F) for a talk on using statistics to prove high-level culpability in the recruitment of child soldiers.

On September 6 at 7pm, I'll be hosting Naomi Klein at the LA Public Library for the launch of Doppelganger.

On September 12 at 7pm, I'll be at Toronto's Another Story Bookshop with my new book The Internet Con: How to Seize the Means of Computation.

This week on my podcast, I read "Enshitternet: The old, good internet deserves a new, good internet," my recent Medium column about building a better internet:

https://doctorow.medium.com/enshitternet-c1d4252e5c6b

As John @hodgman is fond of reminding us, "nostalgia is a toxic impulse." It is easy for an old net.hand like me to fall into the trap of shaking his fist at the cloud. Having been on the other side of that dynamic, I can tell you it's no fun.

When I got on BBSes in the early 1980s, there was an omnipresent chorus of grumps insisting that the move from honest acoustic couplers to decadent modems was the end of the Golden Age of telecommunications:

https://en.wikipedia.org/wiki/Acoustic_coupler

When I got on Usenet shortly thereafter, the Unix Greybeard set never passed up an opportunity to tell us newcomers that the Fidonet-Usenet bridge allowed the barbarian hordes to overwhelm their Athenian marketplace of ideas:

https://technicshistory.com/2020/06/25/the-era-of-fragmentation-part-4-the-anarchists/

When I joined The WELL in the late 1980s, I was repeatedly assured that the good times were over, and that we would never see their like again:

https://www.well.com/

Now that I'm 52, I've learned to recognize this dynamic, from the Eternal September:

https://en.wikipedia.org/wiki/Eternal_September

to the moral panic over menuing systems replacing CLIs:

https://www.eff.org/deeplinks/2020/02/gopher-when-adversarial-interoperability-burrowed-under-gatekeepers-fortresses

to the culture wars over what would happen when the net got a normie-friendly GUI:

https://www.dejavu.org/1993win.htm

And yeah, I've done it too, explaining "Why I won’t buy an iPad (and think you shouldn’t, either)":

https://memex.craphound.com/2010/04/01/why-i-wont-buy-an-ipad-and-think-you-shouldnt-either/

But there's a key difference between my own warnings about the enshittification that new "user friendly" technologies would engender and all those other AARP members' complaints: they were wrong, and I was right.

As Tom Eastman reminded us, the internet really was better, back before it became "five giant websites filled with screenshots of text of the other four":

https://twitter.com/tveastman/status/1069674780826071040

The underlying pathology of that enshittification wasn't the UI, or whether it involved an app store. As the Luddites knew, the important thing about a technology isn't what it does, but who it does it for and who it does it to:

https://locusmag.com/2022/01/cory-doctorow-science-fiction-is-a-luddite-literature/

The problem wasn't which technology we used. There is nothing inherent about touchscreens that makes them into prisons that trap users, rather than walled gardens that protect them.

Likewise, the problem wasn't who made that technology. We didn't swap wise UUCP Monks for venal tech bros. The early tech world was full of public-spirited sysops, but it was also full of would-be monopolists who tried – and failed – to get us to "stop talking to each other and start buying things":

https://catvalente.substack.com/p/stop-talking-to-each-other-and-start

If it wasn't the technology that killed the old, good internet, and if it wasn't the people who killed the old, good internet, where did the enshitternet come from?

It wasn't the wrong tech, it wasn't the wrong people: it was the wrong rules. After all, the Apple ][+ went on sale the year Ronald Reagan hit the campaign trail. Consumer tech was the first industry born after antitrust was dismantled, and it created the modern monopoly playbook: buying and merging with competitors. The resulting unity of purpose and anticompetitive profit margins allowed tech to capture its regulators and secure favorable court and legislative outcomes.

The simultaneous drawdown of antitrust enforcement and growth of tech meant that tech's long-standing cycle of renewal was ended. Tech companies that owed their existence to their ability to reverse-engineer incumbent companies' products and make interoperable replacements and add-ons were able to ban anyone else from doing unto them as they did unto the giants that came before them:

https://doctorow.medium.com/let-the-platforms-burn-6fb3e6c0d980

The pirates became admirals, and set about creating a "felony contempt of business model":

https://pluralistic.net/2022/12/03/painful-burning-dribble/#law-of-intended-consequences

They changed the rules to ensure that they could "disrupt" anyone they chose, but could themselves mobilize the full might of the US government to prevent anyone from disrupting them:

https://locusmag.com/2019/01/cory-doctorow-disruption-for-thee-but-not-for-me/

The old, good internet was the internet we we able to make while tech was still realizing the new anticompetitive powers it had at its disposal, and it disappeared because every administration, R and D, from Reagan to Trump, yanked more and more Jenga blocks out of the antitrust tower.

In other words: the old, good internet was always doomed, because it was being frantically built in an ever-contracting zone of freedom to tinker, where technologies could be operated by and for the people who used them.

Today, the Biden administration has ushered in a new era of antitrust renewal, planting the seeds of a disenshittification movement that will tame corporate power rather than nurturing it:

https://www.eff.org/de/deeplinks/2021/08/party-its-1979-og-antitrust-back-baby

In other words, we are living in the first days of a better nation.

In other words, rather than restoring the old, good internet, we should build a new, good internet.

What is a new, good internet? It's an internet where it's legal to:

reverse-engineer the products and services you use, to add interoperability to them so you can leave a social network without leaving your friends:

https://www.eff.org/interoperablefacebook

jailbreak devices to remove antifeatures, like surveillance, ink-locking, or repair-blocking:

https://pluralistic.net/2023/04/17/have-you-tried-not-spying/#coppa

move your media files and apps from any platform to any device or service, even if the company that sold them to you objects:

https://pluralistic.net/2022/09/07/audible-exclusive/#audiblegate

A new, good internet gives powers to users, and takes power away from corporations:

https://doctorow.medium.com/twiddler-1b5c9690cce6

On a new, good internet, companies can't practice algorithmic wage discrimination:

https://pluralistic.net/2023/04/12/algorithmic-wage-discrimination/#fishers-of-men

They can't turn search into an auction between companies that match your query and companies that want to sell you fakes and knockoffs:

https://pluralistic.net/2022/11/28/enshittification/#relentless-payola

They can't charge rent to the people whose feeds you asked to read for the privilege of reaching you:

https://pluralistic.net/2022/12/10/e2e/#the-censors-pen

In fact, a new, good internet is one where we euthanize rentiers:

https://pluralistic.net/2023/07/24/rent-to-pwn/#kitt-is-a-demon

On the new good internet, your boss can't use bossware to turn "work from home" into "live at work":

https://pluralistic.net/2021/02/24/gwb-rumsfeld-monsters/#bossware

And on top of that, you have the right to hack that bossware to undetectably disable it (and hackers have the right to sell or give you that hack):

https://www.eff.org/deeplinks/2021/08/tech-rights-are-workers-rights-doordash-edition

On the new, good internet, we stop pretending that tech is stealing content from news companies, and focus on how tech steals money from the news, with app taxes, rigged ad markets, surveillance ads, and payola:

https://www.eff.org/deeplinks/2023/04/saving-news-big-tech

The new, good internet is an internet where we seize the means of computation. It's an internet operated by and for the people who use it.

Hodgman is right. Nostalgia is a toxic impulse. The point of making a new, good internet isn't to revive the old, good internet. There were plenty of problems with the old, good internet. The point is to make a new, good internet that is the worthy successor to the old, good internet – and to consign the enshitternet to the scrapheap of history, an unfortunate transitional stage between one good internet and another.

Here's a link to the podcast episode:

https://craphound.com/news/2023/08/21/enshitternet-the-old-good-internet-deserves-a-new-good-internet/

and here's a direct link to the MP3 (hosting courtesy of the Internet Archive; they'll host your stuff for free, forever):

https://archive.org/download/Cory_Doctorow_Podcast_448/Cory_Doctorow_Podcast_448_-_Enshitternet.mp3

and here's a link to my podcast's RSS feed:

https://feeds.feedburner.com/doctorow_podcast

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/08/22/the-new-good-internet/#the-old-good-internet

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

[biblioflyer]

Discovery's character drama logic

Occasionally trips to Reddit are actually informative. Credit to MalleusManus of the Daystrom Institute subreddit for unpacking this in a way that finally gelled. I'm kind of kicking myself for not seeing it sooner. I always understood Discovery was more of a character drama than an adventure show. Yet the piece I was missing, the piece I think a lot of Trekkies are missing is that Discovery has always been a character drama first. Whereas most previous Treks were mystery/procedural/"competency porn" first.

The specific mix of characters involved rarely actually mattered (except in DS9) and you could lift the outline of the story and transplant it into more or less any Trek series or even an entirely different anthology series like Twilight Zone or Dark Mirror and only need to fudge some of the details. That isn't to say that the individual characters and their quirks didn't make us love them, but the characters were never the point of TOS & TNG except when it was a showcase episode written specifically to do a bit of character development. The point of the characters was to have the plot happen to them, to wax philosophic about the particulars of the ethical or conceptual conundrum, and then solve the problem. The problem, once resolved, largely leaves them and their fundamental conditions unchanged.

DS9 is what happens when you ditch the anthology style storytelling but are still largely plot driven rather than character driven as a first priority. The writers of DS9 had grand visions of things they wanted to happen to both the setting and characters, but the characters still evolved rather slowly.

Discovery started from the perspective of what sorts of situations it wanted to put specific characters in in order to have them react in a very particular kind of way, what sort of emotions they wanted to see emoted, and what mindset the showrunners wanted the characters to have when it was all said and done. The relationships between characters are what ultimately matters and the particulars of the plot and worldbuilding come after that.

I would have liked more attention to the particulars of setting and plot, but recognizing that Discovery's plots are the character journeys not the puzzle of the week, I definitely understand it differently now and why its always been a little tedious. Namely because I've never liked any of the characters all that much. I don't really dislike any of them, but other than Saru, I can't honestly say I have any favorites. Ariam, for obvious reasons, and Owo because of her past as a luddite I was always curious to learn more about....only to have the first one die in her first and only point of view episode and the other to only talk about her life outside of Starfleet when she needs to manifest a special talent related to her history to save the crew.

But again, its an insight that was on the tip of my proverbial tongue and I couldn't quite articulate it before. I finally get what I don't like about Discovery and why in a way this is more than just "bad show bad." It has never really worked for me precisely because the central focus isn't really why I watch Trek and what it was trying to make me feel, it didn't succeed at.

I'm still sorry to see it go, because I think it was starting to think bigger and try to situate itself better within the Star Trek storytelling tradition, its themes, and rhythms and it just got cut down as the ugly ducking was showing swan like tendencies.